companies I run & invest in
the work is the evidence. here is what I run and back.
how I help women grow their businesses
most of the women I work with already have something real. what they need is someone in it with them, who knows from the inside how companies and capital work.
• financial modelling • product • communication • mindset • investment and capital
01
SEE
[ We read the whole system: where the potential is, and what stands in its way. ]
01
SEE
[ We read the whole system: where the potential is, and what stands in its way. ]
01
SEE
[ We read the whole system: where the potential is, and what stands in its way. ]
02
FOCUS
[ We cut the noise to the few things that matter. ]
02
FOCUS
[ We cut the noise to the few things that matter. ]
02
FOCUS
[ We cut the noise to the few things that matter. ]
03
Structure
[ We turn it into something that holds. Model, systems, decisions. ]
03
Structure
[ We turn it into something that holds. Model, systems, decisions. ]
03
Structure
[ We turn it into something that holds. Model, systems, decisions. ]
04
Move
[ We get it into motion, past the point where most people freeze. ]
04
Move
[ We get it into motion, past the point where most people freeze. ]
04
Move
[ We get it into motion, past the point where most people freeze. ]
05
HOLD
[ We make it work in real life. ]
05
HOLD
[ We make it work in real life. ]
05
HOLD
[ We make it work in real life. ]
"Constance gets inside a business fast. She sees what matters, then turns it into a plan, a model and a story that founders and investors can act on. I have seen her do it on BSFH and on every investment we have made since, in food, education and technology."
James Scott
"Constance gets inside a business fast. She sees what matters, then turns it into a plan, a model and a story that founders and investors can act on. I have seen her do it on BSFH and on every investment we have made since, in food, education and technology."
James Scott
substack
L'entre, notes from the in-between. on Substack, free.
MY WRITING ON WOMEN, BUSINESS AND THE WORLD.
ENTRE
There is no gap; there is a between, and I was built in it.
ENTRE
There is no gap; there is a between, and I was built in it.
ENTRE
There is no gap; there is a between, and I was built in it.
THE THRESHOLD : LE MOT
On living in the middle of a change.
THE THRESHOLD : LE MOT
On living in the middle of a change.
THE THRESHOLD : LE MOT
On living in the middle of a change.
THE THRESHOLD : LE GESTE
The same word, read through the body.
THE THRESHOLD : LE GESTE
The same word, read through the body.
THE THRESHOLD : LE GESTE
The same word, read through the body.
subjects for press and public speaking
available for: keynotes, panels, podcasts, conversations.
BUSINESS & CAPITAL
BUSINESS & CAPITAL
Women building businesses.
Women building businesses.
Between founder and investor.
Between founder and investor.
Impact and sustainable investing.
Impact and sustainable investing.
Building ventures in the Global South.
Building ventures in the Global South.
Oikos: economy and ecology.
Oikos: economy and ecology.
FROM L’ENTRE
FROM L’ENTRE
The frame does the reading.
The frame does the reading.
Thresholds.
Thresholds.
Clarity is compression.
Clarity is compression.
BODY & CULTURE
BODY & CULTURE
Aesthetics as structure.
Aesthetics as structure.
Balance is motion.
Balance is motion.
The body in business.
The body in business.
background
my background
inspiration
things that inspire me
[ Blue wall, yellow shirt, no hurry ]
[ Wong Kar-wai, Fallen Angels, 1995. Neon, loneliness, speed ]
[ Duras, Écrire. The only test I trust for a sentence ]
[ Mikael Siirilä, Untitled (rock). One stone, a lot of silence ]
[ Headstand into a split. The sea behind. ]
[ Marseille, July 2026. The blue I keep. ]
[ Santiago. A hood, a floor, the body decides first. ]
[ Pierre Bourdieu, 1979. Still the sharpest line on taste. ]
[ Victory of Samothrace. Wind caught in marble. ]
[ Sho Shibuya. The sky every morning, painted over the news. ]
[ My notes from Marseille, July 2026. ]
[ Pina Bausch, Café Müller. Eyes closed, chairs everywhere. ]
[ Klimt, Helene, 1898. A child in profile, already her own person. ]
[ Panna Meena Ka Kund, Jaipur. Stairs that only go down to water. ]
[ Klein, IKB 79. One blue, nothing else needed. ]
[ Sofia Coppola, Lost in Translation, 2003. Tokyo at 4am, wide awake. ]
[ Blue wall, yellow shirt, no hurry ]
[ Wong Kar-wai, Fallen Angels, 1995. Neon, loneliness, speed ]
[ Duras, Écrire. The only test I trust for a sentence ]
[ Mikael Siirilä, Untitled (rock). One stone, a lot of silence ]
[ Headstand into a split. The sea behind. ]
[ Marseille, July 2026. The blue I keep. ]
[ Santiago. A hood, a floor, the body decides first. ]
[ Pierre Bourdieu, 1979. Still the sharpest line on taste. ]
[ Victory of Samothrace. Wind caught in marble. ]
[ Sho Shibuya. The sky every morning, painted over the news. ]
[ My notes from Marseille, July 2026. ]
[ Pina Bausch, Café Müller. Eyes closed, chairs everywhere. ]
[ Klimt, Helene, 1898. A child in profile, already her own person. ]
[ Panna Meena Ka Kund, Jaipur. Stairs that only go down to water. ]
[ Klein, IKB 79. One blue, nothing else needed. ]
[ Sofia Coppola, Lost in Translation, 2003. Tokyo at 4am, wide awake. ]